This is the 23rd full-length album from Kansas City icon Tech N9ne. Getting his footing in 3 decades back as a member of the groups Black Mafia as well as the 57th Street Rogue Dog Villians & Nnutthowze, his profile began to increase in the late 90’s after landing a spot on the Gang Related soundtrack & becoming among the first to join Yukmouth’s then-newly formed collective The Regime. But after having issues with Interscope Records & Universal Music Group following the release of his iconic 3rd album Anghellic, that’s when Tech decided to form his own label with the help of a man at Paradise Originals named Travis O’Guin. Together, they would call it Strange Music & solidified itself as one of if not the biggest indie label in the world. Tech has made it a tradition to drop an album every year since Everready (The Religion) back in ‘06 & given that’s been going on at Strange throughout 2021, I was very curious to hear how Asin9ne would address it all.
“The Herder” kicks the album off with Tech villainously proclaiming himself as just that with production from Wyshmaster whereas the King Iso & Seuss Mace-assisted “I Don’t Fit” has a symphonic trap vibe with the help of N4 talking about not fitting in even though they’re the shit. “Kickiter” has a bit of an EDM flare encouraging the crowds to riot leading into the spacious “Too Good” produced by Ervin Pope & featuring Lil Wayne tackles the idea of being too good for their own good.
Meanwhile on “No See Umz”, we Snow Tha Product tagging along with a poorly sung Russ hook for an anthem going at their doubters just before King Iso returns alongside Joey Cool & even The Rock (although you can definitely tell Tech wrote his verse) with the combative “Face Off” serving as 7’s only production on the album. E-40 comes into the picture for the explosive strip club anthem “Clydesdale”, but then “Still Right Here” with X-Raided serves as an emotional ballad about loyalty.
“Take Your Halo” reveals itself as an angry response to those who’ve been talking shit on Strange Music as of late while “Knock That Noodle” speaks on the violence in KC over a cavernous beat. “Heightened” despite it’s brevity feels like something you’d hear in the trailer of a good horror movie just before the horrible dubstep/rap fusion that is “What Rhymes With Threat’ll Kill Ya?” with Phlaque the Grimstress & Zkeircrow.
If you couldn’t tell by the title, “I Been Thru a Lot” delivers one of the more vulnerable moments on the entire album & “Dial It Back” has a more cloudier sound talking about how he ain’t bragging. The song “Zaza” with Oobergeek meditatively gets sensual while the penultimate track “Close Yours Eyes” is a more boom bap-tinged pleading to keep faith in him. “Special” finishes it off with a powerful, feel-good guitar ballad.
I’ve been a huge fan of Tech N9ne since my senior year of high school & his music has helped me through some dark times, but I’m kinda indifferent towards Asin9ne. He definitely proves that he can hold an album without 7 but much like ENTERFEAR, he overdid it on the features & their contributions are either hit or miss.
The Brazy Bunch is a duo from Omaha, Nebraska consisting of A-Wax & King Iso. We’ve heard them a couple times throughout the year with songs like “At All” by Taebo the Truth or even “Bag Up” & “Blemish” off of A-Wax’s latest solo projects but after a small debacle revolved around the pair’s full-length debut Written n Blood getting pulled within hours of it’s initial release over the spring due to proper procedures not being followed by Iso’s current contract with Strange Music, they managed to work everything out with Travis O’Guin & officially drop it under the It Goes Up Entertainment subsidiary of the renown Kansas City label.
The acoustic/trap-tinged title track opens things up about how it’s their lives whereas “Ran Up” works in some sirens to speak on being chased by the cops. “Helpless” is a guitar ballad saying that money multiplied their problems just before the spacious materialistic ode “Slimy”.
Meanwhile on “Spain”, we have The Brazy Bunch somberly talking about revisiting the past even though it’s hurtful leading into them telling motherfuckers to get out of their feelings for the misty “Mad For”. The pianos on “Go Brazy” are pretty cool as they come through with a riot starter, but then “Measure It” serves as an ominous coke pusher’s theme surprisingly.
“Tears Dry” has a minimal beat going on about their bitches try’na fix what isn’t broken while “Time” is a much more downtrodden cut detailing going from their harder days to where they are now. “Flooded” continues the darker vibes saying they can’t scrub the blood on their hands whereas “Corrode” is an atmospheric cut about being paranoid that everyone is with the feds.
The keyboard passages on “So Strange” fit well given that they’re telling us that fame came with a cost leading into “Omaha”, which is a decent lil homage to their hometown. The song “Trip” is a cloud rap banger about never wishing jail on their brothers while the penultimate track “Fuck It Up” atmospherically details getting these bitches to trust them again. “Packin’” finally ends things with a foreboding theme about running up checks.
If you’re expecting more of that World War Me shit, then you’re gonna be disappointed. However, I think this is a solid debut nonetheless. King Iso’s production goes into more of that trap shit than he did on the last album & the chemistry with A-Wax is pretty unique as well.
This is the sophomore album from New York rapper, singer, songwriter & producer Jehry Robinson. Coming up in 2016 off his self-titled mixtape then an EP the following year, his biggest breakthrough came around Christmas 2019 when he signed to Strange Music & put out his full-length debut 20/Twenty at the tail-end of that following summer. However, it looks like Jehry is already back with The Name’s Not Important & has enlisted Wyshmaster to produce the whole thing from start to finish.
“Out My Face” starts things off with Jehry & his mentor Tech N9ne telling their naysayers to leave them alone with Wyshmaster whipping up an energetic trap instrumental whereas “Scars in My Mind” is a piano ballad opening up about “we’re only holy when we hover inside”. “On Read” takes a more moodier turn airing out a woman ghosting him just before the acoustic “Everything’s on Fire” tells listeners that “you’re the only one that can be you”.
Meanwhile on “Weekend”, we get a tropical party theme leading into him & Krizz saying their lives are a mess for the bassy trap banger “Can’t Hold My Head Up”. I think “Butterflies” has to be my favorite on the whole album with it’s boom bap production & Jehry showcasing his speedy flows, but “Take Me Home” works in some beautiful keys saying he’ll change some day.
“Cancellations” with Nani Layilaa is a harmonious cut looking back on the struggle whereas “24/8” is a short boom bap ballad saying he can’t believe he’s made it this far. “Full Moon” serves as a full-blown contemporary R&B cut that isn’t too bad, but “All These Colors” with Hi-Rez is a downtrodden trap cut talking about change.
“Full View” enlists Rose the Mermaid for a keyboard/boom bap cut saying they ain’t worried about the next man while the song “Another Round” with Justina Valentine serves as a fiery strip club banger. The penultimate track “Too Much” energetically talks about doing the most & for the closer “Living Proof”, we got Jehry & Joey Cool coming together for a summery tune hoping the good days will weigh the bad ones out.
20/Twenty is a tad bit better to me, but The Name’s Not Important is a worthy follow-up. I like how it picks up where the previous album left off with Jehry once again showing that he’s one of if not the most versatile artist on Strange Music currently.
Joey Cool is a 35 year old MC from Kansas City, Missouri who first caught attention as a long-time affiliate of local independent hip hop powerhouse Strange Music. However after releasing a total of 4 mixtapes & a studio album on his own, Tech N9ne decided to officially sign him to the Snake & Bat in 2017 & dropping his eponymous sophomore album the next year. This was followed up with Old Habits Die Hard & now as the 1-year anniversary of Coolie High approaches this fall, Joey is following it up by dropping his 5th full-length album.
After the “Swanktastical” intro, the first song “Way Down” works in a pillowy trap beat asking to dim the lights whereas “Jumpin’” is an energetic crowd mover down the Kato production. “Strange Sinatra” declares himself as such on top of a glossy trap instrumental from Dominique Sanders just before going into rap rock territory for the Tech N9ne-assisted “Man on Fire”.
Meanwhile on “Protect Thine Energy”, we have Joey going back into trap turf talking about dominating every season leading into him & Kye Colors jumping on top of some pianos & finger snaps showing their new bag for “New Phone”. He later opens up about a party in the hills that’ll probably kill him on the quasi-boom bappy “Bad Dreams”, but then “Like I’m Supposed To” atmospherically opens up about never following suit & being him.
Jon Connor of all people tags along for the jingly “Thomas Shelby” comparing themselves to the Peaky Blinders character of the same name whereas “Don’t Touch Me” has a more minimal sound saying he’s not down with the fuckery. C-Mob, Rittz, Suli4Q & Whitney Peyton come together on the trap banger “It’s a Pity” saying they did it now while “Here We Are” is a moodier jam about how “we take it far”.
The penultimate track “Whiskey of the Day” with Jehry Robinson & Wrekonize finds the trio joining forces to deliver a catchy homage to Jack Daniels down to the stripped-back production & the closer “Coolie Time” is a just yet hyper dedication to Red Rocks Amphitheatre, which is where his Strange Music contract was publicly revealed at.
Now I don’t know where Joey Cool is going from here because we all know a lot of artists have been leaving Strange to do their own thing throughout these last few months, but I’m gonna stick along for the ride because this is as solid as his previous efforts. I love the confidence in his voice & even though 7 usually produces the label’s output, they make it work without him.
BL1GHT is a newly formed duo consisting of HU$H & Tech N9ne. One is a rapper/producer from Los Angeles known for his work in the EDM scene under numerous aliases & the latter being amongst the biggest independent hip hop artists of all-time. Now I’m not really sure exactly how these guys’ paths crossed, but my morbid curiosity for this eponymous debut EP of theirs got the best of me given how much of a N9na fan I’ve been since high school. Especially off the strength of albums like Anghellic, Absolute Power, Everready (The Religion), K.o.D. (King of Darkness), All 6’s & 7’s, Welcome to Strangeland and Special Effects.
”Let Lost Happen” starts the EP by going into a brostep direction as BL1GHT tell the listener that “false starts isn’t how they play” whereas the next joint “Noise Baby” sounds like a rehash of your generic EDM track from 2011 with it’s repetitive structuring. We go into a more glitchier sound on the lyrically aggressive “Move Back Right Now” before fusing elements of dubstep & trap metal with “Smiley”.
Meanwhile on “Wear U Down”, the instrumental for some reason sounds like the theme music you’d hear whenever a Blacklight: Retribution match would end as BL1GHT rap about the way they show love while the penultimate track “41 Days” is much more melodic & the lyrics are more depressing. The closer “Suffering” is a lot similar to “Smiley” in terms of the production with the duo rapping about wanting their opposition to suffer.
I have nothing against dubstep or EDM as an entire genre, but boy was it a struggle for me to sit through this entire EP for 22 minutes. The chemistry between the duo seems to be hamfisted rather than natural because as a performer, Tech N9ne is just washing HU$H on every song. On top of that, the latter’s production isn’t as invigorating as someone like Burial’s
Saigon is a 43 year old MC from Brooklyn, New York who broke out in the early 2000s off his debut mixtape Da Yardfather. However, it wouldn’t be until 2011 when he would make his full-length debut by dropping The Greatest Story Never Told under Suburban Noize Records. The album would spawn a sequel to fulfill his contract with the Spade the following year & then a final installment on his own imprint Squid Ink Squad Records in 2014. He returned from a 6 year hiatus last summer by signing to Strange Music’s new subsidiary It Goes Up Entertainment & dropping the STREETRUNNER-produced EP 777: The Resurrection almost right after but here we are 7 months later with Saigon’s 4th full-length album.
After the DJ Kayslay intro, the first song “Head Blown (Vitabudz Theme)” talks about vibing until his head is gone over an instrumental that hawks back to 80s electro while the track “2 for $5” makes multiple comparisons to the titular deal over a bountiful beat. The song “My Gun” talks about being strapped at all times over a boom bap instrumental with some sirens while the track “Blessings” pays tribute to those murdered by the system from Mike Brown to Sandra Bland over a bereft beat.
The song “People Next Door” talks about the person living next to him getting laid down the night before over a cinematic instrumental while the following track is a pointless remix to “Mechanical Animals” off of The Greatest Story Never Told 3: The Troubled Times of Brian Carenard. “The D” with Jay Varcity is a gross, lovey dovey disco tune while the song “Warm Honey” is almost as painful to listen to except the production on this one is more silkier.
The track “U Do Understand That, Right?” With Axel Leon finds the 2 talking about partying all night over a jazz/trap infused beat while the song “We Don’t Need You” talks about cutting off punks in his life over a Satanic instrumental. The track “Same Ol’ Me” talks about how he hasn’t changed after all these years over an inspiriting beat while the song “U Don’t Know Me” is a catchy bop calling out those who think they know everything about him.
The track “Buss It Down” with Bam Vito is a terribly written strip club anthem backed by generic instrumental while “The Streets” talks about how it ain’t no joke in the hood over an organ-laced beat. The track “It Goes Up” with Rough finds the 2 talking about firing at their squad if they take food out their mouths over a boom bap instrumental with some choir vocals while the song “Deeper” with O.T. the Real sees the duo talking about how deep they are over an exultant beat. After the “Saigon Speaks” skit, “The Co-Op Cipher” teams up with Cassidy to get on the battle tip over a sullen instrumental. He also takes the time to announce 2 more albums coming later this year, one produced entirely by Buckwild & the other with Jahlil Beats.
Even though I prefer 777: The Resurrection, I still think this is a solid album. There are joints on here that felt out of place like the “Mechanical Animals” remix & that cringey disco joint, but Saigon can still rip up mics like it was nothing & the production is pretty tight for a good deal of it.
This is the 8th full-length album from Miami-based trio ¡MAYDAY!. Formed in 2003 by keyboardist/guitarist Plex Luthor & emcee Bernz, the duo released their self-titled debut in the fall of ‘06 before adding 4 more members into the fold: emcee/producer Wrekonize, bassist Gianni Ca$h, percussionist NonMS & drummer L.T. Hopkins in 2009. Together, they would begin to rock the underground off 2 EPs & their sophomore album Stuck on an Island. This would catch the attention of Kansas City veteran Tech N9ne, who signed the group to his independent powerhouse Strange Music in 2011. They would go on to cement themselves as a flagship act on the label’s roster off critically acclaimed projects like Take Me to Your Leader, Thrift Store Halos, Believers & Future Vintage. However since 2016, ¡MAYDAY! has been a 3-piece consisting of Wrek, Bernz & NonMS. Their first album as a trio Search Party was a decent sequel to Stuck on an Island & the heavily reggae-influenced South of 5th was slightly better, but it’s been a little over 2 years after the release of their previous EP The Thinnest Line II, the 3 are getting back together for Minute to Midnight.
After the “In Due Time” intro, the title track that truly kicks the album off talks their patience being tested as well as divine new moralities over some wavy synth-lines & live drumming from ¡MAYDAY! themselves whereas the next song “Make Noise” talks about how “them boys won’t let you live in peace” over a Carribean-flavored trap beat from 7. The track “See You Smile” motivates the listener to stay strong in the midst of the ongoing COVID-19 pandemic over some bass & acoustic guitars while the song “Hard to Leave” details relationship issues over a moody beat from Bernz with co-production from The Pushers.
The track “Words Get in the Way” picks up where the previous cut left off as Bernz & Wrekonize talk to their partners about trying to change over an instrumental kin to a 70’s blaxploitation film while the song “Golden Hour” talks about meeting their lovers in “that place where the night moves slow” over a funky beat. The track “Lost Cause” talks about the reason why women do them wrong over a cavernous trap instrumental & then UBI provides the album’s only guest verse on the song “All In” as he & ¡MAYDAY! talk about being fully committed over a cloudy beat from NonMS.
The track “Let You Tell It” talks about letting their loved ones speak their minds over a reggae-tinged instrumental while the song “Flatline” is a rap rock anthem about chasing death. The track “1 Eye Open” is a piano-boom bap ballad calling out the fact that everyone says they’re woke nowadays & then the song “Flowers” expresses their hope of being appreciated while they’re still here over an instrumental with some heavy jazz undertones.
The track “Empty” is a stripped-back, catchy look into depression while the song “Can’t Do That Anymore” talks about wandering down a windy road over a disco-flavored beat. The track “Get There” talks about how they’re not sure where they’re going over a pillowy instrumental while the closer “Foul Out” goes back & forth dismissing all the bullshit being said about them over some punk-like guitar riffs & drums. But then there’s the bonus cut “Hit’s Different”, where Bernz & Wrekonize talk about trying to break out of a cycle over a plaintive instrumental from Wyshmaster.
Even though their last couple projects have been just ok to me, I was very excited for this given how much I enjoyed Wrekonize & Bernz’ latest solo albums Pressure Point & Sorry for the Mess. At the end of the day, this is the best ¡MAYDAY! album I’ve heard since Future Vintage. The songwriting is some of their most captivating ever & the way the trio fuses together all the sounds they’ve ever dabbled with into 1 continues to show how unique they are.
Bernz is a 42 year old MC from Miami, Florida most notable for being a co-founder of the band ¡MAYDAY! alongside Plex Luthor in 2003. But after bringing a co-frontman & 3 other instrumentalists into the fold by the end of the decade, Kansas City icon Tech N9ne signed the group to his evergrowing independent powerhouse Strange Music in 2011 & have remained on the label since. However, it wouldn’t be until 2016 where Bernz branched out into a solo career & dropped See You on the Other Side. Fast forward 4 years later, he’s enlisting 7 to produce his sophomore effort in it’s entirety.
Things kick off with the title track, where Bernz apologizes to the listener for what they’re about to hear over a dreary instrumental. The next song “Don’t Wait on Me” then tells this woman to walk out the door over a boom bap beat with an acoustic guitar while the track “On My Way” talks about how this woman makes him feel over a jam session-like instrumental. The track “Necessity” with his ¡MAYDAY! partner in rhyme Wrekonize sees the 2 getting confessional over a piano & some explosive drums while the song “Outchea” talks about keeping things on pace over some blissful guitar melodic & some handclaps.
The song “Limited Time” with Futuristic finds the 2 talking about out of town romance over a funky ass beat while the track “Done” talks about waking up from the wrong side & still feeling good over a tropical trap instrumental. The song “Slow Dance” is a beautiful foot tapper backed by a sensual beat with some heavy drums while the track “Old Cutler Drive” looks back on his younger days as a hungry artist over a trap instrumental that kinda has a jazzy flare to it.
The song “In My Mind” opens up on being epileptic over a lugubrious beat while the track “Party in My Room” talks about sex over a fast-tempo instrumental. The song “Lie to Me” talks about not wanting to hear any hard truths over a rhythmic beat while the track “Sunny Rain” talks about what it’s like for him to love this woman over a warm instrumental.
The song “Hold On” teams back up with Wrekonize as they tell their partners not to let go of them over a calming instrumental while the track “Double Down” talks about getting back up when you’re on the ground over a psychedelic beat. The closer “Let You Down” talks about getting lost in his thoughts over an acoustic instrumental & then the bonus cut “Late Checkout” is essentially Bernz doing dumb shit in the club over a beat that I almost wanna say is a bit Latin flavored.
Strange Music has been constantly staying busy all year & if this is the last full-length album we’re getting from them until 2021, then what a damn-near perfect way to finish it off because Bernz really took it to a whole nother level on here in comparison to [i]See You on the Other Side[/i]. The lyrics are most personal yet & his chemistry with 7 is just astounding, as the production on here is incredibly versatile.
Strange Music has been constantly staying busy all year & if this is the last full-length album we’re getting from them until 2021, then what a damn-near perfect way to finish it off because Bernz really took it to a whole nother level on here in comparison to See You on the Other Side. The lyrics are most personal yet & his chemistry with 7 is just astounding, as the production on here is incredibly versatile.
Wrekonize is a 37 year old MC & producer based in Miami, Florida who’s been around for almost 20 years at this point. Starting out in the battle circuit, he eventually put out a total of 3 mixtapes throughout the 2000s before coming out with his full-length debut A Soiree for Skeptics in 2010. However, it wouldn’t be until the following year when he signed to Strange Music as a solo artist & as a member of the group ¡MAYDAY!. His 2013 sophomore effort The War Within would go onto receive critical acclaim & was followed up in 2017 with Into the Further. But as we approach near the end of 2020, Wrekonize is completing the trilogy by dropping his 4th full-length album.
After the “We’ll Be Waiting for You” intro, we get into the first song “The Fallen”. Where Wrek talks about being in Hell over a settle trap beat from The Xtraordinaire$. The next song “Be Me” talks about uniqueness over a rock-flavored instrumental & after the “Tell Me Your Symptoms” skit, the track “Lights Off” talks about his mind always movin’ over a trap beat from 7 with a plinky xylophone.
The song “Wits’ Ends” talks about being more anxious than ever over a bleak instrumental while the track “For the Likes” takes aim at clout chasers over acoustic trap beat. After the “State of the World” skit, the song “Low Water” gets on the wisdom tip over an scary-sounding beat while the track “Sedentary Moments” talks about how he used to sit & dream as a kid over a laidback boom bap beat.
The track “Anyweigh” is literally a spousal argument on wax backed by a woozy instrumental from Leonard DStroy while the song “High Water” talks about breaking free from the cage of stress over a trap beat with some psychedelic guitar passages. The track “Simple Back Then” looks back on his childhood over a soothing instrumental while the song “Oakland” is a slow, R&B jam written towards his partner. After the “Separate Yourself” skit, the track “Zombies” talks about freeing the listeners’ minds over a foreboding trap instrumental while “The Man Under the Bridge” talks about homelessness over a funky beat.
The self-produced “Call for My Name” pays tribute to Valerie Ryan over some prominently knocking drums & after the “Couple Last Stories” skit, “The Coldest Dish” is a tearjerking tribute to Wrek’s parents & brother backed by a trap beat with some somber piano-chords. The closer “Still Around (Down) talks about his desire to live without fear over a grungy trap instrumental & then the bonus cut “Detonate” with Tech N9ne & UBI finds the trio talking about losing their minds over a full-blown dubstep beat.
Wrekonize has always been one of the most standout artists on Strange Music & to me, this is right behind The War Within for his magnum opus. The production choices have improved greatly in comparison to Into the Further, the concept is so articulately put together & does a fantastic job of showing the listener where he’s at right now mentally.
Tech N9ne is a Kansas City, Missouri veteran who’s music I’ve covered countless times up to this point. From founding the independent powerhouse Strange Music alongside his manager Travis O’Guin to his insane work ethic & an incredibly lengthy discography, the man really has done a lot to the culture to solidify himself as one of the all-time greats. He just put out his 22nd album ENTERFEAR back in April, which was followed up by a great outtakes EP MORE FEAR just a couple months ago. However with the Halloween season approaching quickly, Tech is finishing the FEAR trilogy by releasing his 8th EP.
After the “Rally the Troops” intro, the first song “EPOD” with JL sees the 2 talking about being the illest over a woozy trap beat from 7 whereas the next track “I Think” is a fresh showcase of the current Strange Music roster over a grimy instrumental. The song “Sprocket” with Krizz Kaliko is yet another addition to Tech’s long list of club bangers backed by a vigorous beat from N4 while the track “Tech’s Mex” talks about his originality over a spacious instrumental.
The penultimate song “Becoming Too Famous“ talks about the crazy amount of press coverage he’s received recent years over a settle trap beat & after the “Exodus” skit, the closer “Making a Killin’ (I Ain’t Scared of Shit)” talks about moving on from the FEAR trilogy as he announces his upcoming 23rd album Asin9ne dropping next year over a ghostly instrumental.
Man, what a good way to segway into the next chapter of Tech’s career. He gives listeners an introspective look at where’s at currently whereas 7 & N4 both continue to prove both of their own sounds compliment Tech the best. Beyond excited to hear where he takes things next year.